While, in principle, the t

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AvatarEarlC
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While, in principle, the two mics work similarly so far as signal gathering goes, the uni-directional will likely have a slightly or even highly broader range and significantly less rejection zone than will a shotgun. Most shotguns nearly have to be as pointedly focused on the audio source as a telephoto lens, depending on its rejection capabilities – audio to the side, top, bottom or rear of the unit.

Many, MANY orchestra and choral facilities, such as churches, actually have a number of mild-cardiod (not totaly uni-directional, nor shotgun) patterns, suspended vertically from a rack, or some other support system, from the ceiling, wires running off to where ever their sound system resides. The heads to these systems can be quite small, and there can be as many as a dozen, or more, suspended in this fashion, used to enhance the choral/orchestral output. Most basic boom stands do not have the extension or support base to actually be centered and above a group of singers/players, so I am puzzled about using that approach.

I have used a number of stands with various shure mics on them, to gather isolated outputs from groups, individual instruments, etc. then run the whole shebang into a mixer and used a sound person to control the levels, or record all the tracks individually, bringing up, or down, what I want to enhance or subdue in post. This, of course, would require a multi-track recording system – digital audio would sync easier with digital video, of course than mixing digital/analog, etc. Problems get bigger, and greater, as the attempted solutions and redundancy becomes more complex, unless of course you are highly experienced in doing such things. You’ve stated, indicated, that you are not. So…

In all honesty the best solution is going to cost some money. Using self-contained standalone (Zoom H2) digital recorders, placed at strategic points around the performance area, and mixed in post. Or, a digital recorder/mixer combination that has several mic inputs you can then set up six to a dozen mics on stands and run the signals to, all dry, doing the level adjustments you want during post.

Perhaps the most simple would be to shoot with several cameras, using all their on-cam mic systems, and using those audio recordings to give depth, quality, clarity, or whatever to your final audio. But then you’re dealing with video issues like white balancing and mismatched coloration from camera to camera.

I honestly do not believe that one camera or one mic is going to cut it beyond a simple videotaping of the performance.

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